Silent Knight Sho: Never Say Never Again... Unless It's "NEVER END"

In Issue #49 of Weekly Shonen Jump in 1990 the final weekly chapter of Masami Kurumada's Saint Seiya was serialized, bringing an end to a 246-week run across a solid five years; the actual finale to the manga would appear in the December issue of V Jump the following month. Despite it being the biggest success in his entire career, becoming the first of his works to both get adapted to anime & released internationally, it still eventually suffered a loss in popularity & found itself cancelled before Kurumada could fully tell the entire story he had planned, though he was at least allowed to finish the story arc he was on. However, this now also meant that his past two works for Jump, Otoko Zaka & Saint Seiya, had both gotten cancelled, and with a career that dated back to the mid-70s it's arguable that Masami Kurumada was possibly feeling a bit outdated to the then-current Jump reader base.  After all, by the time Seiya got cancelled the only Weekly Jump mangaka still around in 1990 that dated back to the 70s, alongside Kurumada, were Osamu Akimoto, Akira Miyashita, & Yudetamago, and the latter two only just barely, as both made their serialized debuts in mid-1979. Therefore, instead of jumping straight into a new series Kurumada decided to instead take advantage of Jump's Seasonal Specials, publishing a baseball one-shot titled Aoi Tori no Shinwa in the 1991 Spring Special, before following it up three specials later with a continuation in the 1992 Winter Special. Despite seemingly wanting to make it into a proper serialization, Aoi Tori no Shinwa never went beyond those two connected one-shots... and here's where hearsay comes into play.

If you look around online, the general rumor is that after putting the kibosh on Saint Seiya Shueisha told Masami Kurumada to simply recreate Saint Seiya's success by making something like it, despite having just cancelled the series the publisher seemingly wanted Kurumada to replicate. However, that's generally worded as though Kurumada's next manga came right after Seiya, ignoring Aoi Tori no Shinwa's two-off existence & instead wanting to portray Shueisha as being incompetent. But, like any good rumor, there may still be a nugget of truth behind it, because Kurumada's next serialized manga would very much look immensely similar to his biggest hit. Therefore, it is entirely possible that Shueisha (or, at least, his editor at Jump) did request that Kurumada try to create a "new Saint Seiya", but instead of coming off like pure incompetence it likely would have been due to the fact that Kurumada was nearing a solid 1.75 years without any real/proper serialization, which would surpass his prior record of just slightly over a full year, that being the gap between Sukeban Arashi & Ring ni Kakero. This was close to the roughly two whole years between the end of Fuma no Kojirou (late 1983) & the start of Saint Seiya (early 1986), so it's entirely possible that Shueisha was thinking that a new generation of Jump readers would be around to enjoy a new take on what Kurumada had hit big with previously & make it their own, similar to how Kurumada had Saint Seiya reuse ideas, names, & terminology from his older works for that then-new generation. I mean, by mid-1992 Shonen Jump was filled with a new breed of manga that didn't even exist when Saint Seiya's final weekly chapter first appeared, with the only remnants of the 80s & earlier being Kochikame, Dragon Ball, Rokudenashi Blues, JoJo's Bizarre Adventure, & Magical Taruruuto-kun, and that last one was only five weeks from ending; Dragon Quest: The Adventure of Dai did debut in the tail end of 1989, but that's more a technicality. To be perfectly honest, if "Just make a new Saint Seiya for the 90s" truly was Shueisha's idea for Kurumada by mid-1992, I can actually see the logic in it.

Ring ni Kakero, in Masami Kurumada & Others' Words: The Author's Notes & Afterwords (feat. shmuplations) Part 2: Volumes 10-18

It's been a while, but shmuplations & I are finally back with the second round of author's notes & afterwords from the original 25-volume tankouban release of Ring ni Kakero, which came out between 1978 & 1983 in Japan. In the first round back in January we checked out what came with the first nine volumes, which included some of Masami Kurumada's earliest short messages to his readers & longer messages written mostly by professional boxers of the time, all of which had been WBC and/or WBA champions for their respective weight classes at one point or another, with three of Kurumada's fellow Jump mangaka pulling up the rear for that chunk. This time around, though, we'll be seeing the inverse as Volumes 10 to 18 will mostly be featuring Jump mangaka writing the afterwords, with only three being written by those from outside of the industry (& one of them isn't even a boxer!).

So let's not dawdle about any further & see what messages we have in store for this second chunk of volumes! Which mangaka will poke fun at Kurumada? Which boxers will get to tell their personal stories? Will Masami Kurumada himself retroactively put his foot in his mouth due to now-old-fashioned ideals?!

Volume 10 of Ring ni Kakero came out on February 15, 1980, right as the World Tournament had ended in Weekly Shonen Jump, which saw Kurumada essentially "kill off" all five members of Golden Japan Jr., despite the final page of that arc literally telling readers to look forward to a new chapter the following issue; weekly serialization can be a hoot. As for the author's note for the first double-digit volume of the manga, Kurumada thinks back to when Guts Ishimatsu (who wrote Volume 3's afterword) won the WBC Lightweight Championship in 1974 & something he had heard Ishimatsu did the moment he became champion: Telling off everyone who didn't believe in him:

"It's an old story, but I heard that when Guts Ishimatsu won the World Title, he turned to the audience and yelled, 'You idiots!!'. It was his way of paying back the world for not recognizing him. For a young man with no money, no education, and no parental support, such a moment where one can say that to the whole world must come rarely, if at all. Incidentally, I think a manga artist is one of the few professions where you get to say 'You Idiots!'"

As for Volume 10's afterword we have mangaka Mitsuyuki Takashina, better known in Japan by his pen name, Kontaro. While not really known at all abroad, Kontaro is known in Japan most for his gag manga, particularly his first big hit from Shonen Jump, 1975's 1・2 no Ahho!!, which was a nonsensical comedic baseball series. By early 1980 Kontaro was actually more or less done with Shonen Jump, as neither of his later works (1978's Ruse! Ruse! & 1979's Kuroki Taka) made it beyond short runs, and in 1981 he'd debut his other well known work, the salaryman manga Isshokenmei Hajime-kun, in Young Jump. Kontaro is also known in Japan for being the man that Tadashi Sato (Moeru! Onii-san) & Tomokazu Sato (Ghost Mama Sousasen), no seeming relation, were assistants for, & Kontaro is also the uncle to modern-day J-pop/rock singer Saasa. Kontaro is still making manga to this day, most recently reviving his first hit in 2020 with Kaettekita 1・2 no Ahho!! as an online serialization for Comic Gakuen. For Volume 10 of RnK Kontaro, as a member of the "Daimanzoku" baseball team he, Kurumada, Osamu Akimoto, & Satoshi Ikezawa formed (see Part 1 for more details), recalls when he first met Kurumada back in 1975, how Kurumada's physical demeanor shattered his preconceptions of what a mangaka looked like, and how Kurumada himself slowly achieved the "major" success he was experiencing come 1980... as well as making a playful jab at Kurumada's own physical stature, or slight lack thereof; this actually isn't the only time we'll see that last one, too:

Watanabe, Kurosawa, & Kumagai: 2004's Inadvertent Samurai Trilogy

While the ninja is arguably the most iconic thing to come from Japan when it comes to worldwide pop culture, I think it's more than fair to say that the samurai is a very close second. While the real life samurai that existed for around 700 years between the late 12th century & late 1870s were not always quite like what they are now often portrayed as in modern pop culture, there's no doubt that there's a lot to like in the general (romanticized) concept of the samurai. Stalwart & loyal in fealty to their respective lords, honorable in battle due to them following the ideals of bushido, and kicking all kinds of ass while wearing armor; of course, there's also the inverse concept of the samurai, which can be just as accurate, at points. Naturally, there have been tons of anime that involved samurai in some way or another, and some even feature the word "samurai" in their titles.

The following aren't really all that accurate to what the actual samurai were like, but they were essentially an entire year's primary representation of that concept, at least on TV.

Throughout 2004 three TV anime debuted & aired in Japan that all had titles starting with the word "Samurai"... and all three were not only unique from each other in their conception, but all three also went in wildly different directions. One is today considered an all-time classic (& would otherwise never be covered on this blog), another is still fondly remembered today as a cult-classic (at the very least), and the last is easily the most forgotten of them all yet is a reminder of the early efforts some American anime companies made in becoming more of a direct part of the anime industry itself in Japan. This is, essentially, 2004's Inadvertent Samurai Trilogy. From a personal standpoint, 2004 is the year where I truly went full bore into anime, and that meant that I indulged in both fansubs as well as official releases, but the former was how you had to watch brand new anime as it came out in Japan; simulcasting was nowhere near existing back then, since YouTube didn't even exist yet! In those early days I watched the fansubs for two of these shows as they came out, while the third one (due to its very creation, essentially) wasn't something I saw until it got a physical release in English. Now it's been effectively 20 years since all three of these shows debuted in Japan (& I entered anime fandom), so I'd like to look back at these three "samurai" & see how each one holds up after all this time, as well as how each one befits the concept of a "samurai".

Is the whole "Inadvertent Samurai Trilogy" thing just an excuse to allow me to write about at least one anime that I'd never cover normally here? A little, sure, but I legit just find it neat that there were three TV anime in 2004 whose titles all started with "Samurai", so it's a fun little excuse, at the very least.

Obscusion B-Side: Wading Through the Red Depths of Koei's Crimson Sea Duology

Founded on July 25, 1976, & now existing as the surviving company of the Koei Tecmo Holdings merger from 2009, Koei was mainly known up through the late 90s primarily for two things: In-depth strategy & simulation games based on sports or history & (in Japan only) otome games. In fact, Koei is known for making both some of the earliest acknowledged "JRPGs" (a variety of titles between 1982 & 1983) & the very first otome game (1994's Angelique), as well as even launching Yoko Kanno's musical career, as her first gigs were composing the scores for Romance of the Three Kingdoms & Nobunaga's Ambition back in the mid-80s. In 1996, though, Koei wanted to expand its horizons, founding a fourth division specifically for action-oriented games, leading to the creation of Omega Force, which got its start with 1997's Dynasty Warriors (which was a fighting game for its first entry), the 1998 duo of Destrega (a cult-classic arena fighter) & Enigma (a survival horror-esque action adventure game that stayed in Japan), & 1999's WinBack (a third-person shooter which innovated the idea of a cover system); those latter three would be the only non-Musou games from Omega Force until 2007. However, it's not as though Koei relied solely on Omega Force when it came to non-"standard" video games, as the studio did still have its other divisions develop games outside of the norm, like 1999 RPG Zill O'll, 2002 hack-&-slash game Mystic Heroes/Battle Hoshin, 2007 racing game Fatal Inertia, or 2008 eating game Prey the Stars, with the last two actually coming from Koei Canada. Koei has also worked with third-party developers for other titles, like 1998's Hoshin Engi & 1999's Saiyuki: Journey West (both developed by Fu-Qi), 2001's Gitaroo Man (developed by iNiS, now Leona) & Yanya Caballista: City Skater (developed by Cave), or 2007's Opoona (developed by ArtePiazza). Finally, Koei acted as the publisher for some of Atlus' English releases in Europe during the 00s, namely those developed by Nippon Ichi Software.

Of those "non-standard Koei games that weren't developed by Omega Force" releases, the one that's always had my curiosity is Crimson Sea.

I think this is the only time I've ever seen an
ESRB rating on the title screen itself.

Released on December 12, 2002 in Japan, Kurenai no Umi (not to be confused with the 1961 tokusatsu film of the exact same name from Toho) was far from the only game Koei ever released on the original Xbox, but it was the only one that was 100% exclusive to Microsoft's first console. With that in mind, an international release was always in the cards, as just four days later Crimson Sea would come out in North America, followed by a European release on March 28, 2003. Despite being a game focused on taking on large groups of enemies by hacking, slashing, or shooting them, though, there's no indication that Crimson Sea came from Omega Force, instead simply crediting staff from Koei, in general. For example, most of the planners for the game previously worked on Romance of the Three Kingdoms & Kessen games, not the Dynasty Warriors series. Booting up the game you see it called "A Kou Shibusawa Production", but that's just the stage name of Koei's co-founder, Yoichi Erikawa, & the division/brand named after him wouldn't exist until 2016; I guess maybe Crimson Sea can be assigned to that division in retrospect, though. It would receive generally positive reviews at the time, and it must have sold well enough as a sequel would get put into production. However, oddly enough, Crimson Sea 2 (it would have been funny if Koei just called it "Kurenai no Sora/Crimson Sky", like the 1962 sequel to the Toho film was) would wind up being a PlayStation 2-exclusive, and would even first see release in North America on March 30, 2004, followed by Japan on April 15 & Europe on September 3; critical reception for the sequel was about as positive as the first game was.

Despite that positive reception the series would pretty much disappear into obscurity after the sequel & never receive another entry, with the original Xbox game never getting added to any future Xbox console's backwards compatibility list (yeah, not even Xbox 360!), though the PS2 sequel would see re-release on the PS3 Store as a PS2 Classic on September 3, 2013, but only in North America; as of this piece it's still seemingly available for purchase, but you have to search for it first. As I do own the Xbox game physically & the PS2 Classic re-release of the sequel, I want to go over both & see if I can figure out why Crimson Sea wound up drowning in the vast ocean of video game history, despite both games being considered good titles back in the day.